Fleury joined Corot in Italy in 1827; they were at Tivoli, the subject of this view, on August 23. Whereas Corot built his reputation with paintings executed on a scale sufficient to stand out in a room crowded with large pictures, Fleury is known to have exhibited works that replicated his plein-air sketches in their degree of finish and modest size. This example is signed, suggesting that it was completed in the studio, yet it could well have been painted on the motif.
Inscription: Signed (lower right): Fleury
the artist (possibly his sale, Hôtel des ventes, Paris, April 22–23, 1844, either no. 41, "Vue prise à Tivoli," or no. 43, "Vue prise dans la campagne de Rome, route de Tivoli"); [W. M. Brady & Co., New York]; Eugene V. Thaw, New York (by 2002–9)
New York. Pierpont Morgan Library. "The Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994," September 27, 2002–January 19, 2003, no. 99 (as "View of Tivoli, near S. Maria del Giglio").
Shizuoka Prefectural Museum of Art. "The Romantic Prospect: Plein Air Painters, 1780–1850," June 22–August 15, 2004, no. 44 (as "A view of Tivoli, near S. Maria del Giglio").
Sydney. Art Gallery of New South Wales. "Plein-air Painting in Europe, 1780–1850," September 4–October 31, 2004, no. 44.
Melbourne. National Gallery of Victoria. "Plein-air Painting in Europe, 1780–1850," November 19, 2004–January 16, 2005, no. 44.
New York. Morgan Library & Museum. "Studying Nature: Oil Sketches from the Thaw Collection," January 23–August 30, 2009, unnum. checklist (as "View of Tivoli, near S. Maria del Giglio").
Jennifer Tonkovich inThe Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994. Exh. cat., Pierpont Morgan Library. New York, 2002, pp. 214–15, no. 99, ill. (color), suggests that this sketch may have been painted on August 23, 1827, when the artist visited Tivoli in the company of Camille Corot, and that it may relate to the group of studies by Fleury exhibited at the Salon of 1831.
Charlotte Gere inPlein-Air Painting in Europe, 1780–1850. Exh. cat., Shizuoka Prefectural Museum of Art. Shizuoka, 2004, pp. 92–93, no. 44, ill. (color), infers that the classicizing composition and the presence of the artist's signature suggest that this work may have been been completed in the studio in emulation of a plein-air sketch and intended for public exhibition.
Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, p. 123, no. 65, ill. (color), calls it "View of Tivoli, from Santa Maria del Giglio".